Abstract
The essay examines the influence of Russian literature upon ethical and aesthetic principles and poetics of German socialist drama. After the defeat in the WWI, Germany developed nationalist myths, whereas the international principle prevailed both in Russian literature and culture. The latter fact attracted B. Brecht, J. Becher, F. Wolf, and many others. The essay’s aim is to demonstrate the influence of the playarticle Roar China! A Drama in Seven Scenes by S. Tretyakov on the German socialist drama. It is stated that Brecht (The Good Person of Szechwan, 1938–1941), considering the traditions of the epic theater, tried first of all to awaken the mind of the spectator and to give a clear example of action. In the play Tai Yang erwacht (1931), F. Wolf used all available means of impact to influence the viewer emotionally, aiming to achieve the involvement of the audience into what was going on the stage by means of catharsis, and within the traditions of M. Gorky and A. Fadeyev depicted his heroine in the process of her character development. The versatility and the multidimensional nature of approaches to the development of the Chinese theme is the evidence of the productivity of artistic Russian-German cultural contacts.
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